Narrative and Tonal Structure in Herrmann’s Score for Vertigo

IF 1.6 1区 艺术学 0 MUSIC MUSIC THEORY SPECTRUM Pub Date : 2024-07-12 DOI:10.1093/mts/mtae003
Oğuz Şehİraltı
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Abstract

This article examines the relationship between tonal and narrative structures in Alfred Hitchcock’s 1958 film Vertigo. I argue that this relationship is reciprocal and that Bernard Herrmann’s score for the film affects the perception of the plot despite the generally accepted conventions of understanding film music as subordinate to overall cinematic structure. Using methodologies ranging from Schenkerian theory to analytical approaches to popular music, I suggest that the tonal structure unfolds in two broad episodes that segment the film and help us interpret it from the protagonist’s psychological perspective through the alignment of strong cadential points with important kernel events in the plot.
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赫尔曼《迷魂记》配乐中的叙事和音调结构
本文探讨了阿尔弗雷德-希区柯克(Alfred Hitchcock)1958 年的电影《迷魂记》(Vertigo)中音调结构与叙事结构之间的关系。我认为这种关系是相互影响的,伯纳德-赫尔曼(Bernard Herrmann)为该片创作的配乐影响了人们对剧情的感知,尽管人们普遍认为电影音乐从属于整体电影结构。从申克理论到流行音乐分析方法,我认为音调结构在两个大的情节中展开,这两个情节分割了影片,并通过强烈的节奏点与情节中重要内核事件的一致性,帮助我们从主人公的心理角度解读影片。
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来源期刊
CiteScore
2.30
自引率
20.00%
发文量
15
期刊介绍: A leading journal in the field and an official publication of the Society for Music Theory, Music Theory Spectrum features articles on a wide range of topics in music theory and analysis, including aesthetics, critical theory and hermeneutics, history of theory, post-tonal theory, linear analysis, rhythm, music cognition, and the analysis of popular musics. The journal welcomes interdisciplinary articles revealing intersections with topics in other fields such as ethnomusicology, mathematics, musicology, philosophy, psychology, and performance. For further information about Music Theory Spectrum, please visit the Society for Music Theory homepage.
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